In the 8th arrondissement, just steps from the Palais de Tokyo, Ziggy Chen transformed a Parisian townhouse into an evocative, concrete-clad backdrop for his latest volume, 'Pratrike.' A conjunction of 'primal' and 'strike-it,' the name conveys the raw energy and striking force of the natural world. Born in the so-called 'Paris of the East,' it is only fitting that Chen should divulge his dichotomy in the city which inspired the nickname itself. It is here, in the original Paris, where he explores the existential idea of nature's ability to summon everything from absolutely nothing.
Eroded stone and crumbling remains of an edifice past its prime implied a primal imperative: Nature is always in control. Not your stereotypical avant-garde devotee, his methods are far more methodical than explosive, appealing to the wandering eye of an aesthete. The palette, though consistent, portrayed a quiet metamorphosis from primordial black to invigorating white, coalesced by tones that embody the transformation of one into another. Yin and yang, traditionally represented through black and white, perfectly parallels Chen’s nomadic interpretation and his commitment to Taoist duality.
Notable attendees, including model ChiChiZ, singer Andrada Popa, Foster Rowland, Richard Biedul, brought additional intrigue to the presentation.
This season, like many before, he did not shy away from his affinity for flocculence but instead allowed it to transform. The use of linen, hemp, cotton, silk immersed us in a time untouched — one of natural surrender and less convoluted way of life. Double-breasted coats, turtleneck trenches, antique Chinese-style sunglasses nodded to the convergence of Western European and East Asian influences, most stemming from times long past. Beneath a flippantly placed Gatsby cap, loosely fastened knots created a neckerchief that cascaded rhythmically down the model's chest, guiding the eye to an untucked tunic draped carelessly over a pair of loosely fitted trousers (Look 6).
While often channeling his inner proclivity for calm, Chen understands that fashion is built on friction. Without boldness, the unadventurous falls flat. A grey jacket, whose color gradually deepened appeared as though forgotten in the rain, clandestinely nodding to nature’s unpredictable influence on even minute facets of life (Look 11). Meanwhile, a pastel blue suit accented with subtle drawstring details embodied the effortless ease of navigating any environment with captivating presence — giving tangible life to the term 'ready-to-wear' (Look 32).
This collection is serenity and mesmerizing sensuality. To the untrained eye, one may misclassify his work as a hippie-bohemian pastiche but this would be an exegesis. Chen threads us through time, stopping only long enough to appreciate the beauty of fragmented moments. Each layer intentional as it yearns for an era no longer accessible, a touch no longer felt, an idea that may never come forth. Chen’s designs aren’t meant to command the wearer but instead support them in the same way nature has supported us, and existence all we know.